The Father Of Invention TOM ZÉ

Tom Zé began his career together with Caetano Veloso, Gilberto Gil, Gal Costa, and Maria Bethânia. As a composer, he influenced Caetano and many others and delivered an expressive body of work through his own discography. A restless thinker, he was adept at modern erudite music experimentations, yet he was always ignored by both industry and audiences until he was discovered by David Byrne. He can be better understood through his self-coined definition: "I don't make art, I make spoken and sung journalism."

In 1989 while visiting Brazil, David Byrne found a used copy of Estudando o Samba, which he took as a didactic work. When he listened to the album, he was immediately taken by Zé's sound and called Arto Lindsay, who gave him what information he had about Zé. When a Brazilian journalist from a renowned newspaper interviewed Byrne, he saw a note on his desk, "When in Brazil, look for Tom Zé." He reported that and Zé was alerted. Radiant, he phoned Caetano for more information and Caetano replied that the attention wasn't about him, but rather Tuzé de Abreu, Byrne's friend -- which prompted a certain level of reserve by Zé in subsequent interviews. However, Byrne did sign Zé as the first artist of his Luaka Bop label. His releases there would get favorable reviews in The New York Times, The Village Voice, Rolling Stone, Billboard, and Le Monde, and win a Creativity Award in Telluride, CO. In 1991, his album The Best of Tom Zé was voted the third best album by critics and fourth by the readers of Down Beat. In 1992, he recorded The Hips of Tradition (also on Luaka Bop) and participated in the Zurich Jazz Festival in Switzerland. He then departed for a successful series of tours in Europe and the U.S. He is the first Brazilian musician to be presented at New York's Museum of Modern Art (1993), and the first Latin American composer to be presented at the Walker Art Center in Minneapolis, MN. He also opened a concert at the London International Festival of Theatre at Queen Elizabeth Hall in London, England. He appeared in concert and at festivals in Canada (Vancouver, Montreal, Edmonton, Saskatoon) and New York, and received 20th Century Artist honors and performed at Summerstage in New York's Central Park.

Download

Todos os Olhos (1973)

http://www.4shared.com/rar/ZF5di19B/Tom_Z_-_Todos_Os_Olhos__1974_.html

Estudando o Samba (1976)

http://www.4shared.com/zip/UzVsBIHW/1976_-_Estudando_o_samba.html

Nave Maria (1984)

http://www.4shared.com/zip/hxZfPNme/Copy_of_1984_-_Nave_Maria.html

Estudando a Bossa (2008)

http://www.4shared.com/rar/6OboLKGh/Tom_Z_-_Estudando_a_bossa.htm

Tropicália Lixo Lóxico (2012)

http://www.4shared.com/rar/UD7FEftH/tom_z_-_tropiclia_lixo_lgico_2.html

Céu

CéU proved to one of the more internationally appealing singers to break out of Brazil around the time of her 2005 debut, ultimately winning a Latin Grammy nomination for Best New Artist and garnering interest for herself in Europe and North America. Her singing is what earned her acclaim, yet her music is novel as well, a fusion of samba, reggae, and electronica, with touches of jazz and soul. She was born Maria do Céu Whitaker Poças in São Paulo; however, she bills herself as simply CéU. (In Portuguese, céucan mean either sky or heaven, depending on the context; more specifically, the word comes from the Latin word caelu and refers to the infinite space overhead, including the sky as well as the cosmos.) She grew up in a music family; her father is a composer, arranger, and musicologist. At an early age, she learned to appreciate renowned Brazilian composers such as Heitor Villa-Lobos, Ernesto Nazareth, and Orlando Silva, and as a teenager, she decided to become a singer. Rather than go to college, she studied music, including theory as well as the violão, a nylon-stringed guitar native to Brazil.

CéU eventually moved to New York City for a while once she was old enough to leave home. There she encountered many new influences, including old-school jazz singers such as Billie Holiday and Ella Fitzgerald as well as contemporary R&B singers such as Lauryn Hilland Erykah Badu. Also while in New York City, she befriended Antonio Pinto, a fellow Brazilian musician; he is perhaps best known for composing the score to City of God (2002), among other films. In time, after moving back to Brazil and fronting a couple groups, CéU recorded her debut album, a self-titled release produced largely by Beto Villares, with the aid of Pinto. CéU was released in 2005 by Urban Jungle, a label based in São Paulo, in partnership with Ambulante Discos, Villares' label. The album was later licensed by Six Degrees, a stylish label based in San Francisco that is known for its catalog of Brazilian releases, after CéU had already been met with success in parts of Europe, including France -- and, by association, French-speaking Canada as well. Thanks to the buzz surrounding her debut, CéU earned a Latin Grammy nomination in 2006 for Best New Artist. Her sophomore release, Vagarosa, arrived in early 2009. For 2012's Caravana Sereia Bloom, CéU worked with producer Gui Amabis, to radically alter her approach to recording. She drew inspiration from earlier tropicalia while incorporating everything from Peruvian chicas and cumbias to reggae to alter her sound.

Vagarosa (2009)

http://www.4shared.com/rar/QBYh6V1T/CU_-__2009__-_Vagarosa.htm

Céu's second album, arriving four years after her debut, finds her sticking to the style that brought her to the attention of the world music and hipster-lounge communities. She's still mixing the relaxed grooves of her native Brazil with those of downtempo/trip-hop acts like Thievery Corporation; still throwing in surprisingly capable reggae grooves "("Cangote," the first full song on this CD, boasts a deep dub bassline and some extremely haunting organ); and still multi-tracking her vocals into a conversation. It's a lilting yet heady blend that she pulls off with an utter confidence that's fascinating in such a young artist. Brazilian music has an innate lightness that Céu engages with on basically a molecular level. Her songs flirt with a Tom Waits-like clatter sometimes, but always resolve themselves into drifting bliss. Her psychedelic take on Jorge Ben's "Rosa Menina Rosa," the only song on Vagarosa she didn't write, works itself into a whirling storm of reverb and phasing effects, yet never loses its essential breeziness even as the throbbing bassline heads nearly into "Journey to the Center of the Mind" territory. Computer-generated vinyl crackle turns up on the album intro, as well as "Somnambulão" ("Sleepwalking"), the most ordinary song on the album and one which almost lives up to its title, though some dubwise melodica livens things up. The last track, "Espaçonave," throws in field recordings of rain forest creatures and multi-tracked vocals alongside fuzzed-out guitar, creating a feel reminiscent of the work of similarly brilliant Mexican art-pop princess Natalia Lafourcade. This is an extremely impressive, assured album well worth a listener's time, whether one speaks Portuguese or not.

Tribalistas

Arnaldo Antunes, Carlinhos Brown, and Marisa Monte -- three noted Brazilian pop artists -- formed Tribalistas and released a self-titled album in 2003. Mostly acoustic, with splashes of electronics,Tribalistas centered mainly around Monte's vocals while remaining loosely tied to the trio's Brazilian roots. The album generated a handful of Latin Grammy nominations, including Album of the Year, Record of the Year, Best Brazilian Contemporary Pop Album, and Best Brazilian Song (Portuguese Language).

Tribalistas (2002)

http://www.4shared.com/rar/w9Zj0Gcx/Tribalistas_-_Tribalistas__200.html

Thiago Pethit

Berlim, Texas (2009)

http://www.4shared.com/rar/5KNC1nxN/Thiago_Pethit_-__2010__Berlim_.html

Estrela Decadente (2012)

http://www.4shared.com/rar/Sxta4iay/thiago_pethit_-_estrela_decade.html

Felipe Catto

Fôlego (2011)

http://www.4shared.com/file/QOTa_h-Z/filipe_catto_-_flego.htm

Paulinho Moska

Muito Pouco (2010)

http://www.4shared.com/zip/V7_1sHnp/paulinho_moska_-_muito_pouco_-.htm

Tiê

Sweet Jardim (2009)

http://www.4shared.com/rar/8c87sdV-/Ti_-_Sweet_Jardim_2009.html

Katia B

Espacial (2007)

http://www.4shared.com/rar/s3Ue8pbj/katia_b_-_espacial_2008_marati.html

Maria Gadú

Maria Gadú (2009)

http://www.4shared.com/rar/-TcS2eRx/Maria_Gad__2009_.html

Chico Buarque 

Of the early stars of MPB (música popular brasileira), Chico Buarque was one of the first to become a certifiable pop star. With his warm, nasally croon, elegant phrasing, and considerable skill at lyric writing, Buarque (who is handsome to boot) became extremely popular with women, who loved his understated sensuality. However, Buarque was uncomfortable playing the role of pop star, preferring to be seen as a serious artist. Throughout his career, he's managed to have the best of both worlds, but not without some significant bumps along the way. Still, he remains a towering figure in Brazilian pop music, one of the country's greatest singer/songwriters and interpreters of the samba.

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Chico Buarque de Hollanda Vol;1 (1966)

http://www.4shared.com/rar/e0S4v3SM/Chico_Buarque_-_1966_-_Chico_B.html

Chico Buarque de Hollanda Vol.3 (1968)

http://www.4shared.com/rar/r1UZPvku/Chico_Buarque_de_Hollanda_-_vo.html

Construção (1971)

http://www.4shared.com/rar/CACNejcg/_1971__chico_buarque_-_constru.htm

Carioca (2006)

http://www.4shared.com/rar/pJDExqH1/file.html

Chico (2011)

http://www.4shared.com/file/yqXc6Cte/chico_buarque_-_chico__2011__-.htm

Maria Rita

Maria Rita took the MPB world by storm in 2003 with her debut album, winning all kinds of awards and crossing over abroad in light of her mammoth success. The beautiful and beautiful-sounding young lady is the daughter of one of Brazil's most (if not the most) legendary vocalists, the late Elis Regina, and if that alone weren't enough to make her a star in waiting, her father is César Camargo Mariano, one of the country's top arrangers, producers, and pianists, and her namesake is Rita Lee, yet another MPB legend. Add to that a close musical partnership with Milton Nascimento, who penned "A Festa," the opening track of her debut album, and you can see why the MPB world was eagerly awaiting her recording debut.

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Maria Rita (2003)

http://www.4shared.com/rar/gZY_AU6A/maria_rita.htm

Samba Meu (2007)

http://www.4shared.com/rar/6_PWrpC-/2007_Samba_Meu.html

Caetano Veloso

A true heavyweight, Caetano Veloso is a pop musician/poet/filmmaker/political activist whose stature in the pantheon of international pop musicians is on a par with that of Bob Dylan, Bob Marley, andLennon/McCartney. And even the most cursory listen to his recorded output over the last few decades proves that this is no exaggeration.

Born in 1942 in Santo Amaro da Purificacao in Brazil's Bahia region, Veloso absorbed the rich Bahian musical heritage that was influenced by Caribbean, African, and North American pop music, but it was the cool, seductive bossa nova sound of João Gilberto (a Brazilian superstar in the 1950s) that formed the foundation of Veloso's intensely eclectic pop. Following his sister Maria Bethânia (a very successful singer in her own right) to Rio in the early '60s, the 23-year-old Veloso won a lyric-writing contest with his song "Um Dia" and was quickly signed to the Phillips label. It wasn't long before Veloso (along with other Brazilian stars such as Gal Costa and Gilberto Gil) represented the new wave of MPB (i.e., musica popular brasileira), the all-purpose term used by Brazilians to describe their pop music. Bright, ambitious, creative, and given to an unapologetically leftist political outlook, Veloso would soon become a controversial figure in Brazilian pop. By 1967, he had become aligned with Brazil's burgeoning hippie movement and, along with Gilberto Gil, created a new form of pop music dubbed Tropicalia. Arty and eclectic, Tropicalia retained a bossa nova influence, adding bits and pieces of folk-rock and art rock to a stew of loud electric guitars, poetic spoken word sections, and jazz-like dissonance. Although not initially well received by traditional pop-loving Brazilians (both Veloso and Gil faced the wrath of former fans similar to the ire provoked by Dylan upon going electric), Tropicalia was a breathtaking stylistic synthesis that signaled a new generation of daring, provocative, and politically outspoken musicians who would remake the face of MPB.

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Transa (1971)

http://www.4shared.com/rar/N7Q1vCDp/_1972__Transa.html

Temporada de Verão Ao Vivo Na Bahia (1974)

http://www.4shared.com/rar/TW0VTcC1/Temporada_de_Vero_Ao_Vivo_Na_B.html

Estrangeiro (1989)

Produced by Peter Scherer and Arto Lindsay, with a band that features significant contributions from Bill Frisell, Nana Vasconcelos, and Marc Ribot, Estrangeiro (in English it means foreigner) was Veloso's first American release. Adventurous, idiosyncratic, and frequently beautiful, it in many ways is Veloso at his most topical and artfully lyrical. The title track makes references to Paul Gauguin and anthropologist Claude Levi-Strauss (two figures not normally associated with pop music), Veloso composes some stream-of-consciousness dialogue recited by Lindsay, and the excellent band swings from bossa nova to rock to jazz without missing a beat. In many ways, Estrangeiro is the embodiment of what Veloso, Gil and others were trying to get at with tropicalismo, the removal of genre barriers and the wondrous results possible when all forms of pop were conflated into one artful, stylistic melange. A lyric fragment from the song "Branquinha (Little White One)" says it best: "I go against the grain/sing against the melody/swim against the tide." He does all this, and the results are extraordinary.

http://www.4shared.com/rar/up-WaNa9/Caetano_Veloso__1989__Estrange.html

Cê (2006)

http://www.4shared.com/rar/uRgsX0yz/Caetano_Veloso__2006__C.html

Zii e Zie (2009)

http://www.4shared.com/rar/zSuRwoVY/Caetano_Veloso__2009__Zii_e_Zi.html

Abraçaço (2012)

http://www.4shared.com/rar/Uid5qNcb/Caetano_Veloso__2012__Abraao.html

Samba

Singer Seu Jorge spearheaded the Brazilian samba renaissance of the early 21st century, expanding his audience far beyond South America via featured roles in the internationally acclaimed films City of Godand The Life Aquatic with Steve Zissou. Born Jorge Mario da Silva on June 8, 1970, he spent his childhood in the slums of Rio de Janeiro, working odd jobs to survive. While serving his year of compulsory military service, he also played cornet in a Brazilian army band. In 1991, Jorge's 16-year-old brother was killed by Rio police. At the funeral he met Gabriel Moura, nephew of Brazilian saxophonist Paolo Maura, who agreed to put Jorge in touch with other aspiring musicians looking to form a band. He spent the next three years teaching himself guitar, and in 1993 was hired as an actor and musician with Tuerj, a theatrical troupe sponsored by the Universidade do Estado do Rio de Janeiro. Jorge appeared in close to two dozen Tuerj productions in the months to follow before exiting in 1996 to lead Farofa Carioca, a major-label Brazilian pop outfit that sold few records but nevertheless anticipated the commercial revival of samba.

América Brasil (2007)

http://www.4shared.com/file/_9Nx5_vi/Brazil_Music_Seu_Jorge_-_Amric.html

Música Para Churrasco Vol.1 (2011)

Músicas Para Churrasco is Seu Jorge's idea of a party album. It is a cliché and a national stereotype to say it, but there are very few safer bets than a party album by a Brazilian artist, and Seu Jorge could not possibly disappoint on that matter. From the opening shout of the irresistible single "A Doida" to the smooth closer "Quem Não Quer Sou Eu," this short album turns on the funk, puts the meat on the grill, unloads the beer, and calls on all neighbors and friends to join the barbecue party mentioned in the title.Seu Jorge's characters are typically male rascals from suburban Rio, with a chauvinist mind and a sole preoccupation: women. All of them, a crazy girlfriend, a new neighbor, an exotic Japanese beauty, the wife's best friend, all are a headache and all are fair game. The music may hint here and there at the samba or the pagode -- in the use of cavaquinho or Brazilian percussion instruments -- but the cold fact is that Músicas Para Churrasco is nothing but an unrepentant old-school funk album, of the Brazilian variety. Seu Jorge continues to be obsessed with the 1970s, and this one sounds as if Parliament/Funkadelic went on a vacation south of the Equator, carrying all their horns, monster glasses, and wigs. Fun and brief, it is impossible not to enjoy Músicas Para Churrasco. At the same time, it is also one of Seu Jorge's most boisterous efforts, so it may frustrate listeners expecting the sensitive crooner persona of The Life Aquatic.